LOAN EXHIBITION 


TWELVE MASTERPIECES 
OF 
PAINTING 


M. KNOEDLER AND COMPANY 


INCORPORATE D 


A LOAN EXHIBITION 
OF TWELVE MASTERPIECES 
OF PAINTING 


PeLDoOATTIHE GALLERIES OF 


M. KNOEDLER AND COMPANY 


INCORPORATED 


14 EAST 57TH STREET 
NEW YORK 


APRIL 16 TO APRIL 28 - 1928 


FOR THE BENEFIT OF THE BUILDING FUND 
OF THE MUSEUM OFTHE CITY OF NEW YORK 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 
MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


MRS. 


WINTHROP ALDRICH 
CHARLES B. ALEXANDER 
HENRY G. BARTOL 
EDMUND L. BAYLIES 
HERNAND BEHN 
GORDON K. BELL 
AUGUST BELMONT 

J. INSLEY BLAIR 

JOSEPH A. BLAKE 
ROBERT S. BREWSTER 
JAMES A. BURDEN 
WILLIAM A. BURNHAM 
NICHOLAS MURRAY BUTLER 
FAHNESTOCK CAMPBELL 
MOSES T. CAMPBELL 
ANDREW CARNEGIE 
ROYAL PHELPS CARROLL 
HENRY CLEWS 

JAMES B. CLEWS 
BARRON C. COLLIER 

J. SERGEANT CRAM 

W. MURRAY CRANE 
LEONARD J. CUSHING 
W. BAYARD CUTTING 
GEORGE E. DADMUN 
DUDLEY DAVIS 


HENRY W. DE FOREST 


_ MRS. THOMAS H(¢ 


MRS. PHOENIX | 


‘MRS. WALTER ] 


MRS. CHARLES D. DIC x 
MRS. WILLIAM B. DINSN 

MISS CAROLINE KING u 
MRS. JAMES B. DUKE % 


MRS. STUART DUNCAN 


vm 


MRS. R. HORACE 


MRS. LEWIS GAWT: 


MISS ANGELICA ( 


MISS EDITH IV: 


t 


MRS. FRANK B. 


Be , Sie: - " 
MRS. JOHN S. KEN 


MRS. VAN RENSSELAER KENNEDY 
MISS EWERETTA KERNOCHAN 
MRS. EUGENE KLAPP 

MISS ADELE KNEELAND 

MRS. REGINALD DE KOVEN 

MRS. ADRIAN LARKIN 

MRS. JOHN TORREY LINZEE 

MRS. GOODHUE LIVINGSTON 
MRS. LUKE VINCENT LOCKWOOD 
MRS. R. R. LOENING 

MRS. CHARLES E. F. McCANN 

LA COMTESSE MERCATI 

MRS. EDWIN D. MORGAN 

MRS. W. FELLOWES MORGAN 
MRS. LEWIS GOUVERNEUR MORRIS 
MRS. RICHARD MORTIMER 

MRS. HENRY MUNROE 

MRS. WILLIAM BARCLAY PARSONS 
MRS. ADOLF J. PAVENSTEDT 

MRS. FREDERICK PEARSON 

MRS. FRANCIS K. PENDLETON 
MRS. ALFRED DUANE PELL 

MRS. TOWNSEND PHILLIPS 

MRS. WILLIAM POLLOCK 

MRS. HAROLD IRVING PRATT 
MRS. JOHN T. PRATT 

MRS. SCHUYLER VAN RENSSELAER 


MISS VAN RENSSELAER 


MRS. N. THAYER ROBB 

MRS. EDWARD ROBINSON 
MRS. ARTHUR RYLE 

MRS. ARTHUR SACHS 

MRS. SAMUEL SACHS 

MRS. WALTER E. SACHS 

MRS. ERNEST SCHELLING 

MRS. HARDINGE SCHOLLE 
MRS. LORILLARD SPENCER 
MME. OLGA SAMAROFF STOKOWSKI 
MRS. HENRY W. TAFT 

MRS. J. FREDERIC TAMS 

MRS. MYRON C. TAYLOR 

MRS. ALLEN THOMAS 

MRS. A. STUART WALKER 
MRS. FELIX M. WARBURG 
MRS. GEORGE HENRY WARREN 
MRS. SCHUYLER N. WARREN 
MRS. HAMILTON WEBSTER 
MRS. WM. STORRS WELLS 

MISS EDITH WETMORE 

MISS MARY HOYT WIBORG 
MRS. LUCIUS K. WILMERDING 
MRS. ORME WILSON 

MRS. EGERTON L. WINTHROP 
MRS. FRANK DE R. WISSMANN 


MRS. CHRISTOPHER WYATT 


4-PETRUS CHRISTUS - cIRCA 1400-1473 
PORTRAIT OF A CARTHUSIAN MONK AS A SAINT 


Panel: 814 x 1154 
Signed and dated 1446, along foot of picture. 


EXHIBITED 

“Flemish and Belgian Art, 1300-1900” at the Royal Academy 1927, 
No. 16, as the “Portrait of a Carthusian”’ ; reproduced in Souvenir of the 
Exhibition, page 3. 

REPRODUCED 

Barcelona ‘““Museum”’ (1911), Volume I, page 14. 

“Von Eyck bis Bruegel” by Max J. Friedlander, Berlin, 1921, Plate 3, fac- 
ing page 22; mentioned page 21. 

“Altniederlandische Malerei” by Max J. Friedlander, Berlin, 1924, Vol- 
ume I, Plate L; catalogued page 145. (The date given here“'1466’’ is an 

_ error;it should read “‘1446”.) 

Burlington Magazine for February 1927, (Plate A III) facing page 67, and 
described in Roger Fry’s article “Flemish Art at Burlington House— 
The Primitives,” page 62. 

Gazette des Beaux Arts, May 1927, page 260. 


DESCRIBED , 
“The Van Eycks and their Followers’’ by Sir Martin Conway, M.P., Lon- 
don, 1921, pages 108-9. | 


MENTIONED 

“Die Malerei in den Niederlanden 1400-1550’ by Willy Burger, Munich, 
1925, page 36. 

Kinstler-Lexikon by Thieme Becker, Volume VIII, page 125. 


COLLECTIONS 
Viceroy Don Ramon de Oms, Majorca. 


Marquis de Dos Aguas, Valencia. Petit Bice Londen, 


Lent by Jules S. Bache, Esq. We Nae Ne Oar Galt, bony. ge. 
Guledc, We fle - a o BEY Gat 3 OS OP ON ey Py ie | ae 
Z Pa t i | ' 
Pon, fb fn te. Stawkry Ale a ys (rs. Paige FS fmm ‘ 
V .& { f é 
mea kK Cig hv aol bi Mivys h f fie oh. tern wie. U ‘ 


\ ™ 
af 


2 
hd f { A ime URL Ame 
Aw Ary ¥ By tAaARA AAI, a ey . 4 LAY hae 


2-JOHN CONSTABLE -R.A- 1776-1837 
A DELLIN HELMINGHAM PARK, SUFFOLK 


Canvas: 5114 x 4458 

Mezzotint by David Lucas in ‘“Various subjects of Landscape, character- 
istic of English Scenery, from pictures painted by John Constable, R.A., 
engraved by David Lucas,’ London, 1830, No. 9. 

(This Mezzotint is also reproduced in ‘Constable’ by Holmes, page 26.) 


EXHIBITED 
Royal Academy, London, 1830, No. 19. 

Art Treasures of the United Kingdom, Manchester, 1857, under the title 
“The Rustic Bridge’’ (catalogued page 86, No. 195) by F. T. Rufford. 
International Exhibition, London, 1862, by H. McConnell. Royal Aca- 

demy, London, 1887, No. 151, by John M. Keiller. 


MENTIONED 


“Constable” by Tompkins, pages 103 and 165. 


CATALOGUED 
“Constable” by Holmes, page 249. 


Sold at the John Constable sale, May 15-16, 1838, No. 73, to Allnutt. 


COLLECTIONS 
Allnutt. 

F. T. Rufford. 

Mr. Scovell. 

Henry McConnell, Cressbrook, Derbyshire. 
John M. Keiller. 


Lent anonymously 


‘DyonN 


ond 


5 ae? 


Le Sy 


ee 


ah 


PY S-RAROLI-CRIVE 


O 


5-CARLO CRIVELLI - 1430-1493 
MADONNA AND CHILD 


Panel: 16x 2414 
Signed lower right: Opus Karoli Crivelli Veneti. 


A letter from Dr. Bode dated September 2, 1925, says that he remembers 
this painting to be an ancient possession of the Dohna family. 


EXHIBITED 
Kaiser Friedrich Museum, Berlin, 1906, No. 21. 


CATALOGUED 
Huldschinsky Collection Catalogue, Berlin, 1908, by Dr. Wm. von Bode, 
No. 39, page 38; also reproduced. 


REPRODUCED 
“Crivelli” by Franz Drey, Plate IX, page 13 ; mentioned on page §1. 


COLLECTIONS 
Graf Dohna-Mallmitz. 
Oscar Huldschinsky, of Berlin. 


Lent by J. Horace Harding, Esq. 


Pod 


; 5 : iz . vr 
Cn Yor TH Cnr Aairn~ Ax prath Cha Camasa ah . AA KIVHL 
: Vv 4 
= * ? f i ’ (> } ra) 
Ppronthe ; a. nad. ay ye. Wnuk ros Ss, PBanudh Yaa Hn Ca Ses 


5 a = ' t 3 \ wc Lk he vr A banat 
Sak, pstice * ; Nea, i Si sc Pina Be A os dae gee: Raines ae 


¥ 


( 


A-HONORE DAUMIER - 1808-1879 
DON QUIXOTE AND SANCHO PANZA 


Canvas: 33 x2214 
Signed lower left: H. Daumier 


Arséne Alexandre in “Honoré Daumier, 1’Homme et l’Ocuvre,” Paris, 
1888, page 346, says that Daumier painted this subject several times, and 
(translation) : “Among these paintings we will point out two of especial 
beauty : the one shows Don Quixote in hot pursuit of some far off invisible 
enemy, while the faithful Sancho in the foreground astride his donkey, 
wrings his hands in despair,” etc.; the picture is catalogued page 373. 
Léon Rosenthal, in his “Daumier’’, page 81, speaks of the Daumier Ex- 
hibition of 1878 in which this picture was shown and says,‘‘The paint- 
ings of Don Quixote were among the most remarkable of those exhibited.” 


CATALOGUED : 

“Daumier”’ by G. Guiffroy, page 25, No. 13. 

“Daumier’’ by Erich Klossowski, Munich, 1923, No. 47, on page 90 of the 
Catalogue Raisonné. 


REPRODUCED 


“Daumier”’ by E. Fuchs, 1927, page 154, catalogued No. 154. 


EXHIBITED 
Daumier Exhibition, Durand-Ruel, 1878, No. 13. 

Daumier Exhibition, Ecole des Beaux-Arts, May 1901, No. 15. 
Exposition Centennale, Paris, 1889. 


From the Collection of Paul Bureau, Paris. 


This painting of Don Quixote by Daumier, from the Paul Bureau col- 
lection, was purchased by Mrs. Isidore Bureau (mother of Paul Bureau) 
widow of the painter Pierre Isidore Bureau, from Mrs. Daumier while 
they were at Cannes together—between 1880 and 1885. 


Lent anonymously 


& 
LA A bry g yan.’ of 
AW IMA ASV VAN Ava Yarn. cA ’ 
' ¥ & 
{ 
. 


fi 
~ rw rot PL agen hia 
' J 


5:-SIR ANTHONY VAN DYCK - 1599-1641 
SIR THOMAS HANMER, BART., CUP-BEARER TO 
CHARLES I 


Canvas: 323 x 42 


The following is written on the back of the picture: ‘Sr. Thomas Han- 
mer, Bart., painted by Van Dyck about the year 1637.” 

Sir Thomas Hanmer, 2nd baronet, of Bettisfield Park, in the parish of 
Hanmer, Flintshire, son and heir of Sir John Hanmer, rst Bart., by his wife, 
Dorothy, daughter and co-heir of Sir Richard Trevor of Trevallyn, Co. 
Denbigh;succeeded to the baronetcy 1624;Member of Parliament for Flint; 
married, first, Elizabeth, daughter of Sir Thomas Baker, by whom he had 
a son and daughter. She, Elizabeth, was Maid of Honour to Queen Hen- 
tietta Maria; secondly, he married, Susan, daughter of Sir William Her- 
vey, K.T. by whom he had two sons and a daughter. William, the elder of 
these two sons, married Peregrine, daughter of Sir Henry North, Bart., of 
Mildenhall, Suffolk, to whom Sir Henry North bequeathed his whole es- 
tate. Sir Thomas died in 1678 at the age of 66 and was buried at Hanmer. 


EXHIBITED 
British Institution, 1855, No. 89, lent by Sir H. E. Bunbury, Bart., of Bar- 
ton Hall, Suffolk. 


CATALOGUED- 

“Catalogue Raisonné” by John Smith, 1831, Volume 3, page 181, No. 622. 

“Van Dyck”’ by J. Guiffrey, 1896, page 289, No. 582. 

“Van Dyck”’ by L. Cust, 1900, page 275, No. 95; mentioned on page 131. 

“Portraits in Suffolk Houses’’ by the Rev. Edmund Farrer, F.S.A., 1908, 
page 22, No. 29; reproduced facing page 22. 


COLLECTIONS 
Lord Newport. 
The Bunbury family of Barton Hall, Suffolk. 


Lent by John L. Severance, Esq. it FE Pp Oy 


pn 


aN re ee 


PaRvvLE PATRISSA, PATRIA. VIRTVTIS ET HERES 
Esto, NIHIL MAIVS MAXIMVS ORBIS HABET. 
Gatun Vix POSSVNT COELVM ET NATVRA DEDISSE, 


FIVIVS QVEM PATRIS, VICTVS HONORET HONO'S, 
QYATO TANTVM, TANTI TV 
Vi 


FACTA PARENTIS, 
OTA HOMINYM, VIX QVO PROGRFDIANTVR, HABENT 


NCITO, VICISTI, QVOT REGES PRISCVS ADORAT wa 
Orsis, NEC TE QVI VINCERE POSSIT, ERIT. Rooper 
ji Sr Sy 


Vi 


6-HANS HOLBEIN THE YOUNGER «1497-1543 
PRINCE EDWARD, AFTERWARDS EDWARD VI : 


Panel: 17 x 2134 
Painted in 1538. 


This is the picture which was painted by Holbein and presented to Henry 
VIII as a New Year's gift, 1539; the King was so delighted with the pre- 
sent that instead of the usual monetary return on such occasions, he pre- 
sented the artist with a gold cup and cover made by his goldsmith Corne- 
lis Hayes. 

The picture bears the following Latin inscription written by Sir Richard 
Morysin: 


“Parvvle Patrissa, Patriae Virtvtis Et Haeres 

Esto, Nihil Maivs Maximvs Orbis Habet. 
Gnatvm Vix Possvnt Coelm Et Natvra Dedisse. 

Hvivs Qvem Patris, Victvs Honoret Honos. 
Aeqvato Tantvm, Tanti Tv Facta Parentis, 

Vota Hominvm, Vix Qvo Progrfdiantvr, Habent 
Vincito, Vincisti, Qvot Reges Priscvs Adorat 

Orbix, Nec Te Qvi Vincere Possit, Erit.”’ 

Ricard: Marysini Car: 


“Little one! imitate your father, and be the heir of his virtue, the world 
contains nothing greater—Heaven and Nature could scarcely give a son 
whose glory should surpass that of such a father. Do thou but equal the 
deeds of your parent—the desires of men cannot go beyond this. Surpass 
him, and thou hast surpassed all the kings the world ever worshipped, 
and none will ever surpass thee.” Richard Morysini. (He died in 1556, was 
English Ambassador to the Hanse towns, 1546, and to the Court of the 
Emperor Charles V in 1550.) 

Edward, only surviving son of Henry VIII by his third wife, Jane Sey- 
mour, was born at Hampton Court, October 12, 1537, his mother living 
only for twelve days after his birth. By the peace treaty with Scotland in 
1543, it was stipulated he should marry Mary, Queen of Scots, then only 
seven months old, but the treaty was repudiated in 15 43, and it was settled 


in 1551 that he should marry Princess Elizabeth, daughter of Henry II of 
France. This marriage was deferred and it seems likely would never have 
been made seeing the religious prejudices of the Prince. On the death of his 
father, January 21, 1546-7, he became King of England, and was crowned 
February 20, 1547. Edward VI was buried the day after his death, July 6, 
1553, in Henry VII's Chapel, Westminster Abbey. 


REPRODUCED 

‘Holbein der Jiingere’’ by H. Knackfuss (Kinstler-Monographien, Biele- 
feld & Leipzig, 1902), page 134; mentioned page 138. 

Campbell Dodgson’s translation (1899) of the above from the 1899 edi- 
tion, page 138; mentioned pages 147-8. 

“Henry VIII” by A. F. Pollard, M.A. (Edinburgh, 1902), facing page 242. 
“The Masterpieces of Holbein’’ (Gowans & Gray, London, 1911), page 11. 
‘Hans Holbein, D. J.” by Paul Ganz (Klassiker der Kunst, Sut & 

Leipzig, 1912), page 122; catalogued page 242. 
French edition of above (Paris, 1912), page 122; catalogued page 243. 
English edition of above (New York, 1921), page 122. 


MENTIONED 


“Life and Works of Hans Holbein” by R. N. Wornum (London, 1867), 
pages 322-3. 

‘The Portraits of Edward VI” by Lancelot Surry, M.P.I., (1925), pages 
17-18. 


‘Hans Holbein, the Younger’ by A. B. Chamberlain (London, 1913), Vol- 
ume II, page 164-5; catalogued page 354. 

‘“Holbein’’ by Joseph Cundall (London, 1879), page 95 and 112. 

‘Hans Holbein, the Younger” by G. S. Davies, M.A. (London, 1903), 
page 177; catalogued page 222. 

‘‘Holbein’’ by Beatrice Fortescue (London, 1904), page 170. 

‘Holbein and His Time’’ by Dr. A. Woltmann, translated by F. E. Bun- 
nett (London, 1872), page 391 and 432; catalogued in German edition 
(1866), Volume II, page 161, No. 326. 


CATALOGUED 
“Masters in Art Series,”’ April 1900 (Bates & Guild Co.), page 35. 
‘Dictionnaire des Peintres, Sculpteurs, etc.’’ by BéENézit, 1913, Volume II, 


page 630. 


“Cyclopedia of Painters and Paintings,’’ compiled by Champlin and Per- 
kins, Volume IT, page 272. 
“Répertoire des Peintures Datées”’ by I. Errera, 1920, Volume I, page 109. 


MENTIONED 
“German Masters of Art” by H. A. Dickinson, 1914, page 185. 
“Renaissance in the North and the Flemish Genius’’ by Haldane Macfall, 

IQII, page 134. 

EXHIBITED 
For many years in the Royal Picture Gallery at Hanover, Germany. 
From the Collection of the Duke of Cumberland, Hanover. 

(His father was King of Hanover until he was deprived of the title in 
1866, when the Kingdom was annexed by Prussia and became a province 
of that country.) 

George I, Elector of Lineburg, became King of Great Britain in 1714, 
and Lineburg or Hanover had one sovereign until the death of William IV. 
On the accession of Queen Victoria June 20, 1837, on account of the Salic 
Law preventing the rule of a woman, the kingdom passed to her uncle, 
Prince Ernest Augustus, son of George III. 

It is probable that the portrait of Prince Edward was taken to Hanover 
by either George I or George I, both of whom preferred their Hanover- 
ian Court to that of England. 


Lent by The Hon. Andrew W. Mellon, 


Z-PESELLINO-: 1422-1457 
VIRGIN AND CHILD ENTHRONED, WITH SIX SAINTS 


Panel: 934 x 10!4 
Sight size: 8 x 874 


EXHIBITED 
Burlington House, Old Masters Exhibition, 1887, No. 204, lent by R. S. 
Holford, Esq. - 
New Gallery, Early Italian Art Exhibition, 1893-4, No. 107, lent by Capt. 
G. L. Holford, C.LE. 
Burlington Fine Arts Club, Exhibition of Florentine Painting before 1500, 
1919, No. 19, lent by Lt. Col. Sir George Holford, K.C.V.O., C.LE. 


MENTIONED 


“Geschichte der Italienischen Malerei’”” by Crowe & Cavalcaselle (1870), 
Volume III, page 103. (See also the Italian edition of this work, 1894, 
Volume VI, page 18. 

“Campagno di Pesellino” by Mary Logan (Berenson) in the Gazette des 

Beaux Arts, 1901, 2me periode, in a footnote, page 3,42. 

“A New History of Painting in Italy’”’ by Crowe & Cavalcaselle, edited by 

_ Edw. Hutton (1909), Volume II, page 362. 

“Storia dell’ Arte Italiana’ by Venturi, Volume VII, Part I (Milan, 1911), 
page 396, and described page 4o2. 


In an editorial “The Trafalgar Square Mystery,’ Burlington Magazine, 


October 1927, page 156. 


CATALOGUED 
“The Florentine Painters of the Renaissance’ by Bernhard Berenson (1st 
published in 1896), 2nd edition, page 130; 31rd edition, page 163. 


REPRODUCED AND DESCRIBED 

“Francesco Pesellino und die Romantik der Renaissance’ by Dr. Werner 
Weisbach, (Berlin, rg901), Plate XI, facing page 68; described page 68 
and following. 


REPRODUCED 


25, No. oe 


REPRODUCED IN COLOUR | ee 
In the ““Apollo”’ for June 1926, facing page 327, with an artic le by 
Borenius. 


REPRODUCED AS FRONTISPIECE 
No. 1 to “The Holford Collection, Dorchester House,” 


REPRODUCED 
“Daily Telegraph” of July 6, 1927, with an asticle ae 

piece in Miniature’ by R. R. Tatlock, editor of the Burl 

zine. 


COLLECTIONS 
Praston Collection. 
Beckford Collection, 1839. 


hek,”’ traveller and collector of works Ae art. ) . eae 
Robert Stayner Holford, Esq., 1808-1892, of Westonb 
who built Dorchester House, Park Lane. : 
Lt. Col. Sir George Lindsay Holford of Westonbirt and Dor 
son of the above; Equerry to King Edward VIL, to Qu 
and to King George V. : 


Lent anonymously : 19 ‘ D a 


§-REMBRANDT .- 1606-1669 
PORTRAIT OF A YOUNG LADY WITH A FAN 


Canvas: 4934 x 3934 
Signed and dated lower left: Rembrandt ft 1663. 


“A pair of portraits of a young man and a young woman, also a married 
couple, in my opinion, have been in the hands of two different owners for 
some time past. Count Edmond Pourtalés (now in the Taft Collection, 
Cincinnati) of Paris owns the male portrait, the ‘Young Man rising from 
his Chair’ (Plate 100) and the ‘Young Lady with a Black Fan’ (Plate ror), 
which I pronounce to be the pendant from its similarity in size and con- 
ception, is in Lord Leconfield’s collection at Petworth. The lady, whose 
plainness of feature is redeemed by the energetic expression of her very 
interesting face, is richly dressed, and seated comfortably in her arm-chair, 
while the man appears to be rising from his, to emphasize some eager re- 
mark to his wife.”’ Dr. W. von Bode. 


“We ate flying in the face of chronology in here calling attention to an- 
other picture, which occupies one of the corners in this Great Room, but 
it may be grouped with the others as a novelty to London; for we are not 
sure whether Lord Leconfield has ever before allowed it to leave Petworth. 
This is the “Portrait of a Lady’ (No. 55), a three-quarter figure, dated 
1635 (this is an error; the date is 1633), the picture which Dr. Bode has 
with great probability claimed as the companion to the ‘Young Man’ in 
the Pourtalés Collection in Paris. It is a pity that, as the Comte de Pour- 
talés lent his picture to Amsterdam, it could not also have been borrowed 
by the Academy. In that case we could have seen the lady and gentleman 
side by side, and undone for a moment the divorce wrought by chance and 
the auction room. Whatever may be the facts as to their relationship, the 
lady is one of the few beauties ever painted by Rembrandt; she is, in fact, 
probably the most comely creature in the whole range of Dutch art, and, 
though the composition of the figure and the attitude are a little stiff, as 
is usual with the master’s works of this early date, the painting of the de- 
tails, and especially of the lace collar, shows that he had already arrived 


at a technical mastery far beyond any of his contemporaries, including the 
great De Keyser, to whom his art owed so much.” The Times, December 31, 
1898, in an article on the Rembrandt Exhibition at the Royal Academy. 


EXHIBITED 

British Institution, 1822, No. 132, lent by the Earl of Egremont. 

Rembrandt Exhibition, Royal Academy, 1899, No. 55, lent by Lord Lec- 
onfield. 


CATALOGUED 

“Studien zur Geschichte der Hollandischem Malerei,”’ 1833, by W. Bode, 
page 459, No. 253. 

“L’Oeuvre Complete de Rembrandt—Supplement” by Eugene Dutuit, 
Paris, 1885, page 46; mentioned pages 62 and 67, No. 285. 

“Rembrandt Galerie” by Wurzbach, 1886, No. 217. 

“Rembrandt” by E. Michel, Paris, 1893, page 559; London edition, 1894, 
Volume II, page 236; London edition, 1903, page 433. 

“Rembrandt Van Rijn and his work” by M. Bell, London, 1899, page 154. 

“Rembrandt” by E. A. Sharp “Little Books on Art,” 1904, page 191. 

“Catalogue Raisonné of Dutch Painters’ by C. Hofstede de Groot, 1916, 
Volume VI, No. 881. 


REPRODUCED AND CATALOGUED 
In “The Complete Work of Rembrandt” by W. Bode, Paris, 1897, Volume 
II, No. 101; described page 9. 


REPRODUCED 

“Rembrandt” by A. Rosenberg and W. R. Valentiner, Klassiker der Kunst, 
Stuttgart & Leipzig, 1909, page 97; mentioned page 552. 

“Rembrandt's Paintings” by D. S. Meldrum, London, 1923, Plate 89; 
mentioned pages 51, 72 and 189. 


MENTIONED 

“Niederlandisches Kinstler-Lexikon” by Dr. A. von Wurzbach, Vienna 
and Leipzig, 1910, Volume II, page 403. 

“Petworth House, Sussex—the Seat of Lord Leconfield” by Christopher 
Hussey—(1926, reprinted from ‘‘Country Life’), page 4o. 


a 
87 


* A 


e, Cumberland. eek: : 
Lord Leconfield of Leconfield, lieutenant and custos roti 


ECTIONS i poh, be Serpe Tee RS, 
The Earl of Egremont, of Petworth House, Sussex, a 


of Petworth House, Sussex. 


COLL 
Castl 


9-SIR JOSHUA REYNOLDS - P-R-A- 1723-1792 
PORTRAITS OF LADY SOPHIA ST. ASAPH AND 
HER SON 


Whole-length: 44 x 5638 


Engraved by J. Grozer, in stipple, 1792. 
Samuel Cousins, R.A. 


Sat to Reynolds in May 1786; paid for June 24, 1788. 


Lady Sophia Thynne, 3rd daughter of Thomas, 1st Marquess of Bath, 
K.G., was born December 19, 1763; married August 28, 1784, as his first 
wife, George Viscount St. Asaph (who succeeded his father as 3rd Earl of 
Ashburnham in 1812), and died in childbed April 9, 1791. The child in the 
picture, George Ashburnham, was born October 9, 1785, afterwards be- 
came M.P. for New Romney, and died unmarried June 7, 1813, before his 
father who died October 27, 1830. 


REPRODUCED 

“Engravings after Sir Joshua Reynolds” (by Graves & Co.) undated, Vol- 
ume VII, No. 2. 

‘Reynolds’ Discourses’ by Johnson (1891), page 99. 

“Sir Joshua Reynolds Works,” Hodgson and Graves, 1834, London, Plate 
24, Volume I. | 


CATALOGUED 

“Reynolds” by J. L. Baldry, page 31. 

“Reynolds” by Wm. Cotton, M.A. (1856), page 3. 

“Reynolds” by Graves and Cronin (1899), Volume III, page 860. 

“Bryan's Dictionary of Painters and Engravers,’’ Volume IV, page 221, 
London (1904). 

“Reynolds” by Sir Walter Armstrong (1900), page 228; mentioned page 
143. 

MENTIONED 

‘Reynolds’ Notes on Pictures,’’ edited by Cotton, (1859), page 80. 

“Catalogue Raisonné of Engraved Works of Reynolds” by Edward Ham- 
ilton (1884), page 184. 


“Reynolds” by Sir Claude Phillips (1894), page 350. 
“Reynolds” by Leslie & Taylor (1865), Volume II, page 505. 


EXHIBITED 

Royal Academy, 1787, No. 100, by Reynolds. 

British Institution, 1813, No. 15, lent by the Earl of Ashburnham. 

Royal Academy, Old Masters Exhibition, 1890, No. 158, lent by the Earl 
of Ashburnham. 

Agnew’s, London, 1913, No. 14, lent by the Earl of Ashburnham. 


From the Collection of the Earl of Ashburnham, of Ashburnham Place, 
Battle, Sussex. 


Lent by Jacob Epstein, Esq. 


ie, sonar gemenr meen 


et Gace No. ne and Ae ated in n catalogues. : 


sitions” by Graves, London, 1914, Volume III, 


f Tintoret’”’ by F. P. B. Osmaston, London, 1915, 


441 -J.M.W.TURNER -R-A- 1775-1851 
ROCKETS AND BLUE LIGHTS 


Canvas: 48 x 37 
Painted 1840 


Heavy sea breaking on wet, sandy shore, in which the lights are reflected. 
Two steamboats, almost hidden from sight by high waves, mist and spray, 
are warned of the shoal water by rockets and blue lights from the end of 
the pier. Beyond this pier, on the extreme left, the harbor is faintly dis- 
cernible. In the foreground, on the left, a group of fishermen are looking 
out to sea. Stormy sky. 


Chromolithographed 1852 by R. Carrick 


EXHIBITED 
Royal Academy, London, 1840, No. 419. 

British Institution, London, 1841, No. 112. 

Royal Birmingham Society of Artists, 1850, No. 123. 

Royal Academy, London, 1896, No. 122. 

Gainsborough-Turner Exhibition, M. Knoedler & Co., New York, 1914. 


REPRODUCED 

“Turner and Ruskin” by Wedmore, Volume II, facing page 258. 

“Turner” by Armstrong, facing page 158; catalogued there on page 228; 
and mentioned on pages 120-21, and 147-48. 


CATALOGUED 
“A List of the works contributed to Public Exhibitions by J. M. W. 
Turner, R.A.” by C. F. Bell, page 140, No. 223. 


MENTIONED 

“The Modern Genius” by Haldane Macfall, 1911, page 33, as follows: 
“,.. the superb masterpiece of Rockets and Blue Lights now in America, 
a work in which the mood of the tempests is recorded as no man but 
Turner ever had the power to utter it.” 


COLLECTIONS 
Charles Birch. 


Hooton Hall Chests 


an Goldsmid, Bart., London. — 


John Naylor, ) $3 
H. McConnel, Cressbrook, Derbyshire. 
James Orrock, London. 


Sir Juli 
Charles 


T. Yerkes, New York. 


Schwab, Esq. 


Lent by Charles M 


12-JAN VERMEER OF DELFT. 1632-1675 
PORTRAIT OF A YOUNG WOMAN 


Panel: 71% x 914 
Signed, with monogram, on tapestry background at upper left. 


This model appears in other works by Vermeer and it is thought it may 
represent the wife of the artist, Catherine Bolnes or Bolenes, whom he 
married in Delft in 1653, and who, with her eight children survived him. 


Painted on the back of the panel: 
PORTRAIT par MEER (Van der) 
de DELFT 

and pasted below this is a cutting from the sale catalogue of 1822, show- 
ing this particular lot, of which the following is a copy: 

“28. Jeune femme représentée un peu plus qu’en buste, la téte couverte 

d'un chapeau de panne rouge a grand bord, et le corps enveloppé d’un 

manteau bleu. Un rayon de soleil éclaire en partie sa joue gauche; le 
_ reste de son visage se ressent fortement del’ombre du chapeau. 

i. Op., 17. 

Ul y a dans ce joli tableau tout ce qui fait connaitre le véritable pein- 
tre; l’exécution en est coulante, la couleur forte, l’effet bien senti.”’ 


DESCRIBED 

“Gazette des Beaux-Arts,” 1866, Tome 2, page 567, as mentioned above. 

CATALOGUED 

“Jan Vermeer of Delft” by Philip L. Hale, Boston, 1913, under “Portrait 
of a Young Man,” page 359, obviously repeating Burger's clerical error. 


REPRODUCED 


“La Revue de l’Art’’ for May 1925, facing page 324, and described in an 


article entitled “Un tableau inconnu de Vermeer: La jeune femme au 
chapeau rouge,” by P. Lavallée, Conservateur du Musée et de la Biblio- 
_ théque del’Ecole Nationale des Beaux-Arts, pages 323-4. 


MENTIONED 


“Un Pionnier de l’Histoire de l’Art: Thoré Burger,’’ Gazette des Beaux- 
Arts, June 1925, pages 377-8, article by H. Marguery. 


ntaine, of Pee ies Harenctnes was a WV ofecare fete 
Id the whole of his collection which was composed of works 
1¢ Dutch and Flemish schools, at the Hotel de Bullion on 
, 1822. This picture was lot 28 and beneath the description 
1e f ture v was the following appreciation: “Il y a dans ce joli tab- 
t ce oe fait connaitre le veritable peintre; Vexteunion en est 


oe 


www’ 


na 
> 
| A 
“A 
= 
= 


z " - , , 208 POE 
“ S * oy “ : 
wis . ¢ 
i i u r : = 
. _ muy 
> 7 ‘ 
= * _ ¥ ‘ 7 . 
4 . ‘ . 
4 ~ 4 “ 
. S ; 4 a 
1 ' _ x - 


